Charles Chaplin

T. it.: Un re a New York; Scen.: Charles Chaplin; F.: Georges Périnal; Op.: Jeff Seaholme; Mo.: John Seabourne; Scgf.: Allan Harris; Cost.: J. Wilson-Apperson; Mu.: Charles Chaplin; Su.: John Cox; Ass. Prod.: Jerome Epstein; Int.: Charles Chaplin (re Shahdov), Dawn Addams (Ann Kay), Maxine Audley (regina Irene), Jerry Desmonde (primo ministro Voudel), Oliver Johnston (ambasciatore Jaume), Sidney James (Johnson), Joan Ingrams (Mona Cromwell), Michael Chaplin (Rupert Macabee); Prod.: Charles Chaplin per Attica-Archway 35mm. D.: 100’. Bn.

T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

Mr. Chaplin is one of those rare people who can occasionally seem to be mildly hysterical without losing an ounce of dignity. He can be sentimental and create an emotional reality at the same time. His concern for the world is so bright, so deep at the earth of his genius, that even the most startling revelations of his hatred can be turned to sweetness by a simple gesture or a resigned turn of the eyes. In some ways, A King in New York must be his most bitter film. It is certainly the most openly personal. It is a calculated, passionate rage clenched uncomfortably into the kindness of an astonishing comic personality. Like the king in his film, he has shaken the dust of the United States from his feet, and now he has turned round to kick it carefully and deliberately in their face. Some of it is well aimed – some is not. In fact for such a big, easy target, a great deal of it goes fairly wide. What makes the spectacle of misused energy continually interesting is once again the technique of a unique comic actor.

John Osborne, “Chaplin Aims a Kick at America,” Evening Standard (London), 12 September 1957


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